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about

The yearly summit of Keiji Haino, Jim O’Rourke and Oren Ambarchi continues with Imikuzushi, which finds the group extending the power-trio strategies of last year’s highly praised In a flash everything comes together as one there is no need for a subject (BT05) and bringing to them a newly sustained intensity. For this performance, Haino limits himself to electric guitar and vocals, forming complex networks of slashing rhythm work, noise squall and chromatic shredding, moving at times to near-silent passages of howled vocals and isolated, hanging guitar strums. The tendency towards driving free-rock which surfaced on moments of the trio’s last release is cemented here, with O’Rourke’s fuzzed-out, non-linear bass riffing moving the music into almost garage-rock areas, combining with Ambarchi’s drums to form a bedrock of hypnotic, metronomic pounding which transforms itself effortlessly into passages of flowing free-time.

Like all of Haino’s best work, the trio transcends any ‘rock’ genre exercise to enter a non-idiomatic zone of ritual intensity, creating a music formed purely out of instrumental and group-mind possibility. Presented as four unedited excerpts salvaged from an epic show that lasted well over three hours, the sometimes raw nature of the recording only adds to its directness and harshly emotive quality.

credits

released February 27, 2012

Keiji Haino - guitar, vocals
Jim O'Rourke - bass
Oren Ambarchi - drums

Recorded live January 6, 2011 at SuperDeluxe, Tokyo by Masahide Ando
Concert produced by Mike Kubeck
Mixed by Joe Talia & Oren Ambarchi at Chinatown, Melbourne
Mastered by Rashad Becker

Cover image by Shunichiro Okada
Design by Stephen O'Malley

Thanks: Mike Kubeck, Akiko Miyake, Shunichiro Okada, crys cole, Eiko Ishibashi, Dan Satou, Soma, Keiko Higuchi, Francis Plagne, Joe Talia and all at SuperDeluxe.

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Oren Ambarchi Australia

Oren Ambarchi is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it’s no longer easily identifiable as itself. Instead, it’s a laboratory for extended sonic investigation". (The Wire, UK). ... more

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